text:
Andrew C. McGibbon
Andrew C. McGibbon has spent the past thirty years working in live theatre as a stage manager, general manager, producer and leader in the convergence of Broadway and online.
Mr. McGibbon worked as a stage manager and general manager for ten years. In 1994 he created a website devoted to live theatre, BroadwayWorld-Wide.com. The site was subsequently bought by, and became Playbill.com. He continued to manage the site for Playbill for four years. In 2000 he became the website manager for TonyAwards.com. With the 2008-09 season he finished his ninth year on the show. He has also worked as a webmaster for the Broadway League and Jazz at Lincoln Center. He is presently the Director of Digital Media for the New Jersey Performing Arts Center.
Mr. McGibbon is a member of the American Theatre Critics Association, the Independent Theatre Bloggers Association, AEA and AFTRA.
In addition to his work in the theatrical industry, Mr. McGibbon is also a partner in Simple Solutions Distributing, a manufacturer of filtration equipment for the waste-water industry.
Photo: Elizabeth Leitzell
THE HUMAN SCALE Begins Previews Sat, Oct 2 at The Public Theater
The Public Theater and 3-Legged Dog
Begin Previews
Saturday, October 2 For
First Performance Part of
The New Yorker Festival
Written and Performed By
Pulitzer Prize Winner Lawrence Wright
Directed by
Public Theater Artistic Director
Oskar Eustis
31 Performances Only! Tickets On Sale Now
September 20, 2010 – The Public Theater (Oskar Eustis, Artistic Director; Andrew D. Hamingson, Executive Director) and 3-Legged Dog will begin previews on Saturday, October 2 for THE HUMAN SCALE, an unsparing and graphic exploration of the ongoing crisis in Gaza. Written and performed by Pulitzer Prize winner Lawrence Wright and directed by Public Theater Artistic Director Oskar Eustis, THE HUMAN SCALE will continue performances through Sunday, October 31 at 3LD Art and Technology Center (80 Greenwich Street), with an official press opening on Thursday, October 7. The October 2 performance is being presented as part of The New Yorker Festival.
Following up on his essay "Captives" published in the November 9, 2009 issue of The New Yorker, Wright performs his newest piece, THE HUMAN SCALE, about one of the most searing political conflicts of our day. Wright's last play, My Trip to Al-Qaeda, premiered at The New Yorker Festival in 2006 and then enjoyed a sold-out run at The Culture Project. My Trip to Al-Qaeda has beenmade into a documentary film, directed by Alex Gibney who won the 2008 Academy Award for Feature Documentary, which will premiere on HBO on September 7.
THE HUMAN SCALE will feature lighting design by Deb Sullivan; video design by Aaron Harrow; sound design by Matt Hubbs; and scenic consultation by David Korins.
LAWRENCE WRIGHT (Author/Performer) is an author, screenwriter, playwright, and a staff writer for The New Yorker. He joined the staff of The New Yorker in 1992, where his work has won the National Magazine Award for Reporting as well as the John Bartlow Martin Award for Public Interest Magazine Journalism, and Overseas Press Club's Ed Cunningham Award for Best Magazine Reporting. Wright is the co-writer (with Ed Zwick and Menno Meyjes) of the film The Siege, starring Denzel Washington, Bruce Willis and Annette Bening. He also wrote the script of the Showtime movie, "Noriega: God's Favorite," directed by Roger Spottiswoode and starring Bob Hoskins. His history of Al-Qaeda, The Looming Tower: Al-Qaeda and the Road to 9/11, was published to immediate and widespread acclaim, spending eight weeks on The New York Times bestseller list and being translated into 25 languages. It won the Lionel Gelber Award for nonfiction, the Los Angeles Times Award for History, the J. Anthony Lukas Book Prize, the New York Public Library Helen Bernstein Book Award for Excellence in Journalism, and the Pulitzer Prize for General Nonfiction. In 2006, he premiered his one-man play, My Trip to Al-Qaeda, at The New Yorker Festival, and then enjoyed a sold-out six-week run at the Culture Project. It was made into a documentary film, directed by Alex Gibney who won the 2008 Academy Award for Feature Documentary, and will air on HBO in September, 2010. Wright has published six previous books: City Children, Country Summer; In the New World: Growing Up with America, 1960 – 1984; Saints & Sinners; Remembering Satan; Twins: Genes, Environment, and the Mystery of Identity; and God's Favorite. Wright is a fellow at the NYU Law School's Center on Law and Security and a member of the Council on Foreign Relations.
OSKAR EUSTIS (Director) has been the artistic director of The Public Theater since 2005. From 1981 through 1986, he was resident director and dramaturg at the Eureka Theatre in San Francisco, and artistic director until 1989. Then he moved to LA's Mark Taper Forum as associate artistic director, where he remained until 1994, before serving as artistic director at Trinity Rep for 11 years. At The Public, Eustis staged the 2008 Shakespeare in the Park production of Hamlet, featuring Michael Stuhlbarg and Sam Waterston, and the New York premiere of The Ruby Sunrise by Rinne Groff. At Trinity Rep, he directed the world premiere of The Ruby Sunrise, as well as Tony Kushner's Angels in America (earning the Elliot Norton Award for Outstanding Director for Part 1), Kushner's Homebody/Kabul (Elliot Norton Award for Outstanding Production), and the world premiere of The Long Christmas Ride Home by Paula Vogel (Elliot Norton Award for Outstanding Production). He has directed premieres for Philip Kan Gotanda, David Henry Hwang, Emily Mann, Eduardo Machado, Ellen McLaughlin, and Suzan-Lori Parks, among many others. Along with Tony Taccone, he commissioned Angels in America at the Eureka and directed its world premiere at the Mark Taper Forum. Eustis was a professor of theatre, speech, and dance at Brown University, where he founded and chaired the Trinity Rep/Brown University Consortium for professional theatre training. He received an honorary doctorate from Brown in 2001; an Elliot Norton Award for Sustained Achievement in 2005; and a Tony Award, with The Public, for producing the 2009 revival of Hair. He currently serves as Professor of Dramatic Writing and Arts and Public Policy at NYU.
3-LEGGED DOG Media + Theater Group owns and operates 3LD Art & Technology Center where it produces new, original works in theater, performance, media and hybrid forms. Their mission is to explore the narrative possibilities created by digital technology, and to provide an environment for curated resident artists to create new tools and modes of expression so that they can excel across a range of disciplines. With this residency program 3-Legged Dog has transformed a tightly knit producing company into an international community that directly facilitates the work of approximately 650 artists a year from 23 countries around the world.3-Legged Dog's own productions and installations have been seen at The Metropolitan Museum of Art, the Venice Biennale, Signature Theatre, The Kitchen, PS 122, La Mama, the Ontological Theater, and at their home 3LD Art & Technology Center. In 2011, 3-Legged Dog productions, Losing Something and Fire Island will be featured at the Prague Quadrennial Exhibition of Performance Design. The company has won numerous awards including the American Theater Wing's Hewes Design Award and The Rockefeller Foundation Cultural Innovation Fund Award.
THE PUBLIC THEATER (Oskar Eustis, Artistic Director; Andrew D. Hamingson, Executive Director)was founded by Joseph Papp in 1954 and is now one of the nation's preeminent cultural institutions, producing new plays, musicals, and productions of classics at its downtown headquarters and at the Delacorte Theater in Central Park. The Public's mandate to create a theater for all New Yorkers continues to this day onstage and through extensive outreach and education programs. Each year, over 250,000 people attend Public Theater-related productions and events at six downtown stages, including Joe's Pub, and Shakespeare in the Park. The Public has won 42 Tony Awards, 151 Obies, 41 Drama Desk Awards and four Pulitzer Prizes. The Public has brought 54 shows to Broadway, including Sticks and Bones; That Championship Season; A Chorus Line; The Pirates of Penzance; The Tempest; Bring In 'Da Noise, Bring In 'Da Funk; On the Town; The Ride Down Mt. Morgan; Topdog/Underdog; Elaine Stritch at Liberty; Take Me Out; Caroline, or Change; Well; Passing Strange; the Tony Award-winning revival of Hair; and this fall, the rock musical Bloody Bloody Andrew Jackson and the 2010 Shakespeare in the Park production of The Merchant of Venice. www.publictheater.org.
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All tickets for THE HUMAN SCALE are $30 with the exception of The New Yorker Festival performance on Saturday, October 2, which is $35. Single tickets for performances October 3 to October 31 are on sale now at (212) 967-7555, www.publictheater.org, or in person at The Public Theater Box Office.
3LD Art and Technology Center is located at 80 Greenwich St. The nearest subway stops are the R and 1 at Rector St., or the 4 or 5 at Wall Street.
For The New Yorker Festival performance on October 2 only, tickets are available at newyorker.com/festival or at (800) 440-6974.
The performance schedule for THE HUMAN SCALE is Tuesday through Friday at 8 p.m., Saturday at 2 p.m. and 8 p.m., and Sunday at 2 p.m. and 7 p.m. There are no performances on Saturday, October 9; Wednesday, October 13; Tuesday, October 19; or Wednesday, October 20. On Sunday, October 3, there will be a 7 p.m. performance only. There will be a performance on Monday, October 11 at 8 p.m.
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The LuEsther T. Mertz Charitable Trust provides leadership support for
The Public Theater's year-round activities.
The Public's 2010-2011 downtown season is made possible with the generous support of both The Philip and Janice Levin Foundation and The Ian Madover and Arielle Tepper Madover Family Foundation. Time Warner is the Supporting Sponsor of The Public's 2010-2011 season.
Bank of America is the proud Season Sponsor of Shakespeare in the Park.
Major support for The Public Theater is provided by The Andrew W. Mellon Foundation, the Doris Duke Charitable Foundation, the Shubert Foundation, the Harold and Mimi Steinberg Charitable Trust, the Carnegie Corporation of New York, the Susan Stein Shiva Foundation, the George T. Delacorte Fund at the New York Community Trust—Fund for Performances at the Delacorte Theater in Central Park, and by Warren Spector and Margaret Whitton.
Additional generous support is provided by Apollo Management, the Horace W.
Goldsmith Foundation, The Shen Family Foundation, and the Stavros Niarchos Foundation.
New York Magazine is the official print and online sponsor of The Public Theater's 2010-2011 downtown season.
Public support is provided by the New York City Department of Cultural Affairs; the New York State Council on the Arts, a state agency; and the National Endowment for the Arts, an independent federal agency.
Special thanks to Continental Airlines, the official airline of The Public Theater.
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Ghostlight Sets Sep 21 to Unleash Two-Disc Original Cast Recording of THINGS TO RUIN The Songs of Joe Iconis
Ghostlight Sets 9/21 to Unleash Two-Disc Original Cast Recording of 'THINGS TO RUIN – The Songs of Joe Iconis'
"A theatrical rock concert about human beings who are messy, emotional, drugged up, knocked down, inspired, electric and who don't have nearly enough time to cause the kind of commotion they so desperately need to"
9/24 CD Release Party to Take Place at Sardi's
Ghostlight Records continues their exciting Fall season with the announcement of the September 21st double-CD digital release of their Original Cast Recording of 'THINGS TO RUIN – The Songs of Joe Iconis.' Listen to audio samples, here: http://www.sethcohenpr.com/player/thingstoruin/. A CD release party has been confirmed for 9/24, 8-10:30pm, at Sardi's in New York City. Visit http://sh-k-boom.com/thingstoruin.shtml for additional details about the OCR, audio samples of multiple tracks and more.
Things To Ruin is an incendiary collection of songs by Kleban and Larson Award Winner Joe Iconis (writer of the rock musical The Black Suits and the new musical Bloodsong of Love, which opened at Ars Nova last April). Directed by John Simpkins, Things To Ruin is a theatrical rock concert about human beings who are messy, emotional, drugged up, knocked down, inspired, electric and who don't have nearly enough time to cause the kind of commotion they so desperately need to. Performed by a cast of viciously talented young singers and a highly flammable four-piece band led by Joe himself, Things To Ruin rocks with an occasionally profane and always heartfelt explosion of music and high drama. Things To Ruin has been seen at the Second Stage Theatre, The Zipper Factory, Joe's Pub and Ars Nova.
Kurt Deutsch, President of Sh-K-Boom & Ghostlight Records, had this to say: "Joe Iconis is one of the most exciting new voices in musical theatre. The first time I heard the song "I Was Born This Morning," I thought it screamed with vitality and raw human emotion. Here was a new guy in town fusing rock, pop and musical theatre in a way I hadn't heard before. Things to Ruin is raw, passionate and about people dealing with their stuff in a real way. His songs speak especially to the generation growing up right now, and I envision young performers hearing this album and wanting to do the concert in their theatre companies and schools, sing the songs in their own concerts and in auditions, and keep spreading Joe's music. I encourage that and can't wait to see the Things to Ruin movement grow."
"Humorous, vital music that kicks 1960's-style pop tunefulness with hard post-punk beats. Joe Iconis recalls the excitement that that surrounded Marc Shaiman, Jonathan Larson and Jason Robert Brown. I would call 'Things To Ruin' the beginning of something, except that it is already well underway." - The New York Times
"Iconis seems hell-bent on finding all the commonly shared emotional moments that nobody else has yet set to music. It's so much fun that it's a little overwhelming – 'transporting' is probably the best word!" – Variety
"This bold and prolific musical theater writer, Joe Iconis isn't just hot; he's boiling. Things to Ruin is a revue of his bawdy and profane – and sometimes very poignant – songs." - TheaterMania
Produced by Ian Kagey and Joe Iconis
Album Executive Producers: Kurt Deutsch and Sara Katz
Co-Producers: Noah Cornman, Matt Hinkley and John Simpkins
Associate Producer: Steve Norman
Mixed by Ian Kagey
Engineered by Alex Venguer
Mastered by Oscar Zambrano, Zampol Productions
Recorded at MSR Studios, NYC; Mixed at Sh-K-Boom Records
CAST (alphabetical):
NICK BLAEMIRE, KATRINA ROSE DIDERIKSEN, BADIA FARHA, SARAH GLENDENING, ERIC WILLIAM MORRIS, LANCE RUBIN, JASON "Sweet Tooth" WILLIAMS
JOE ICONIS – piano; IAN KAGEY – bass; MIKE PETTRY – guitars;
BRENT STRANATHAN - drums/percussion
recording conductor/musical supervisor: MATT HINKLEY
Directed by JOHN SIMPKINS
Things to Ruin ran at The Zipper Theater in NYC from Oct. 31 – Nov. 28, 2008 & at Second Stage from May 8th - May 18th 2009
Track Listing for THINGS TO RUIN:
(THE CICADA SONG) (Company)
2. MAMMA, CUT ME DEEPER! (Eric William Morris)
3. NERD LOVE (Jason "Sweet Tooth" Williams)
4. THE WAR SONG (Lance Rubin)
5. GOOD FOR YOU (Sarah Glendening)
6. ASLEEP ON MY ARM (Nick Blaemire)
(WITHOUT ME) (Badia Farha, Company)
8. THE GUIDE TO SUCCESS (Joe Iconis)
9. HEAD SHOT (Sarah Glendening, Katrina Rose Dideriksen, Badia Farha)
10. THE WHISKEY SONG (Company)
1. SON OF A GUN (Eric William Morris)
2. DODGE BALL (Jason "Sweet Tooth" Williams)
3. ALBUQUERQUE ANYWAY (Lance Rubin)
4. JUST MEANS (Badia Farha)
5. HELEN (Jason "Sweet Tooth" Williams, Company)
6. HONEY (Nick Blaemire, Women)
7. THE BAR SONG (Jason "Sweet Tooth" Williams, Joe Iconis, Company)
8. ALMOST THERE (Katrina Rose Dideriksen)
9. NEVER HEARD NOTHING (Company)
(REPRISE) (Company)
Liner notes by Joe Iconis:
I need to remember to thank my mother in these liner notes. I wrote that so I remember to do so. But first, I need to explain what you're listening to. When people ask me what Things To Ruin is I say: "It's a theater version of a concept album that doesn't exist." Now that the album's been made, I can't really say that anymore. Shit. So now I'm left pondering what is Things To Ruin, really? It's not a song cycle, I know that for sure. And even though it's definitely theatrical, I don't think it's a musical. So, I guess I don't know what the hell this God Damned Thing is. However, I do know what it's about. It's about people who are on the verge of something huge and who are chomping at the bit to make the leap. It's about people with a lot to prove and not enough time to prove it in. It's about people who are restless and fired up and hell bent on destruction and creation and forging their place in the world, regardless of the consequences. So, in essence, I guess it's about humans. I bet that smart Theater-savy people (ya know, British People) might even call these humans "characters." And you know what? Those Brits would be correct. Come to think of it, all of the songs are character pieces. And I'd even like to think that these characters learn something. I'd like to think that the dude who sings "Asleep On My Arm," grows a pair and is able to express his feelings a little better in "Honey." I'd like to think that the girls of "Head Shot" make some choices about their life and end up on a road trip of self discovery… or in porn. So, yes. There are characters. And there's even some drama… or at least, I hope there is. I want people to be chomping at the bit to find out if the little bastard in "Dodge Ball" is going to get picked for the team. I want people to be shocked when the woman in "Everybody's At The Bar" descends into madness and crushed when the kid's friend moves away in "Albuquerque Anyway." So I've got characters, drama… could T2R be a song cycle or a musical after all? Am I just deluding myself into thinking that this show is something more unique than it is? Nah. I will stand firm that while T2R might have musical theater tendencies, a musical it is not. "Well, what is it?!," ask the Theater-Savy Brits. "You've got to give it a label, you daft sod! You know what they call things without a label? Garbage!" Shut up, Brits. I'm proud it doesn't have a label. In fact, I think that T2R revels in its stubbornness to not be categorized. It's messy and all over the place and fired up and won't be tied down… (wait for it)... Much Like The Human Beings Who Inhabit It.
I think what I've come to understand is that Things To Ruin is whatever you think it is. I could give a damn. The only thing I know for certain is that this show doesn't apologize for itself. It's here. Love it or Fuck Off.
So, kindly play this album loudly and disruptively. Sing the songs at home, at work, in the car, in church. Go to a Broadway musical and jump on the stage and start belting out "Never Heard Nothing" at the top of your lungs. Take the actual CD and use it to carve your name on a show poster in Shubert Alley. Go to the most hardcore rock club you know clutching the album and proclaiming: "Showtunes are where it's at!" Just don't have T2R playing in the background. Myself and the great people who made this thing (read all of their names ten times please) are a family. And we're a family that Cares. We care deeply about the art we're making. We feel and we believe and we bleed and we ask that you do the same. Confront the music. Meet it in the middle. Let's all get riled up together and change the world. And not apologize for nothing.
Thanks, mom.
-Joe Iconis
August 2nd, 2010 Dunkin Donuts, Manhattan, New York
Liner notes from John Simpkins
I grew up thinking that the people who wrote musicals must have loved creating imaginary worlds. Places where there were princesses and dragons, talking cats, dancing furniture, things like that. So as a director, I used to take great pains to imagine those fantastic, but unrealistic, worlds. I would then try to create them on a stage.
And then I met Joe Iconis. I knew him first at NYU – where he was "the writer and piano player who played too loud," the faculty would say. We crossed paths in the hallways, worked on a production of Godspell together…but I never really knew what he was all about. Until...
Joe came to me with a project. He was "looking for a director for the thing" and asked if I was interested. He gave me a few CD's of his songs and away we went. We didn't exactly know how to begin pulling it all together, so we started talking about people. People who have dreams of all the things they want to do in their lives but feel like they have no time in which to do them - or nobody who takes those dreams seriously. People who have a hard time putting their feelings into words. People who take a stand for what they believe in no matter what the negative outcome may bring. People who have voices in their heads of others who tell them that they will never succeed. People who want to fight those very voices and yearn to tell them to dig it or fuck off. People who long for a community of friends to laugh with, cry with, and get drunk with.
I started to see that Joe writes in a voice that I had never seen before. He is actually writing in (pardon the simplicity) "real life." He is writing lyrics that talk like people actually talk – not just like heroes who are singing songs in order to get the girl that we already know they will get. He is writing music that, when it deals with something emotionally devastating, is so loud that you can feel it in every bone in your body and your ears ring from the volume. He is writing melodies that are sometimes deliberately set just outside of the top of someone's vocal range – so that an actor actually has to work and sweat to even achieve it. All of this adds up to a reality that I had never seen in the theatre and to which I was immediately drawn.
As we started rehearsals for Things to Ruin, I noticed that I wasn't really "directing a musical" or even "staging a concert." I was just asking our incredibly talented cast questions about behavior and feelings and dreams and fears and about how these songs relate to them and their own lives. We had conversations about how, while the material may have slightly different circumstances, the situations Joe writes about are so familiar. So painful. So joyful. So frustrating. So real. We found ourselves drawn to a surprisingly elusive thing for writers, directors, designers and actors - the ability to be human. It may seem strange, but the task of actually capturing and portraying reality is next to impossible.
Things to Ruin was put in front of audiences. I have never to this day seen people respond with such raw emotion to a piece of theatre. The crowds weren't just clapping along. They were yelling and screaming and drinking and crying and thinking and loving. Sometimes it was messy – and sometimes it was happening all at the same time! And they were connecting to it as humans. Not just audience members. They were participating in a shared experience about things that most people don't dare talk (or even think) about.
A couple of weeks ago, President Barack Obama was welcoming Broadway to the White House for a concert. As part of his introduction, he said that musicals "teach us a little bit of something about ourselves." I now believe this in a way that I never could have when I thought musicals were those princess and dragon-filled imaginary worlds.
So get to a computer or a CD player or an iPod or your car. Just make sure that you get listening to this shit right now! Cause it will get inside you and take hold. As a human. I know it has for everyone who has experienced Things to Ruin before you. Welcome to our T2R family!
Stay here for a while. Cuz it's nice. Cuz it's holy.
Laugh and drink and smile. Give advice. Take it slowly.
Life goes by so fast. But it's still when you're with me, here.
-John Simpkins
August 2010
More about Ghostlight Records:
Ghostlight was created by and for the Broadway community. The label has since emerged as the standard bearer on the Broadway music scene. Their releases of the OCRs for Tony winners In The Heights and Passing Strange, as well as their single release featuring the winner of MTV's Legally Blonde The Musical competition, have brought them acclaim for their innovative marketing techniques and their efforts to reach the next generation of Broadway music fans via iTunes, music videos and more. The label (and President Kurt Deutsch) recently earned their first ever GRAMMY AWARD for In The Heights. Coverage has ranged from Rolling Stone to USA TODAY to The New York Times, from Blender Magazine to Playbill to Billboard, from AP Radio to Entertainment Weekly, from New York Magazine to Variety to NY-1 TV, from Time Out NY to Paper Magazine to The Advocate and much more. Other current releases include the double CD collector's edition of 'Reefer Madness' and 'Patti LuPone at Les Mouches,' which received expansive and wildly favorable media overage. Their release of Sutton Foster's solo CD, 'Wish', garnered coverage including two USA TODAY 'Listen Up Music Picks', an appearance on NBC-TV Weekend Today Show, and a debut on Billboard's Heatseekers Chart. Their releases of 'HAIR,' 'Next to Normal' and 'Everyday Rapture' garnered national coverage as well. President Kurt Deutsch was interviewed by PLAYBILL, regarding the label's embrace of 'Broadway's Digital Age': http://www.playbill.com/features/article/118331.html <http://www.playbill.com/features/article/118331.html> . This fall, Ghostlight records will release the Original Cast recording of 'Bloody, Bloody Andrew Jackson' (opening on Broadway October 13), 'Christine Ebersole Sings Noel Coward,' (The 2-time Tony winner's 3rd album on the label), and the Original Cast Recording of 'Ordinary Days.' The label celebrates its 10th Anniversary this year.
CSC to Feature Kundera and Rushdie in Books on Stage Reading Series
Classic Stage Company (CSC), under the leadership of Artistic Director Brian Kulick and Executive Director Jessica R. Jenen , will present its popular Books On Stage Reading Series this Fall, featuring the first major forays into theater by acclaimed authors Milan Kudera and Salman Rushdie.
On Monday, September 27, CSC will present Kundera's Jacques and His Master, adapted from Diderot, featuring F. Murray Abraham and directed by Brian Kulick.
Join Jacques and his Master, the 18th Century's answer to Beckett's Didi and Gogo, as they make their way through the countryside, passing the time by telling all manner of tales: tall, long and shaggy—you name it, they have a story. In addition to Mr. Abraham the cast includes: Lynn Cohen, Adam Driver, David Garrison, Philip Goodwin, Roberta Maxwell, KK Moggie, Steven Rattazzi, Tara Schoch Frederickson and Elisabeth Waterston.
On Monday, October 4, the theater will present Haroun and the Sea of Stories, by Salman Rushdie, featuring Taylor Mac, directed by Rachel Chavkin. "What's the use of stories that aren't even true?" A question that author Salman Rushdie answers in this fantastical adventure that began as a series of bathtime stories the author told his young son, Zafar. Join Haroun and his storytelling Father as they leave the City that forgot its name, outwit the Shah of Blah and navigate a sea of endless stories, in this whimsical ode to the power and necessity of fiction. The cast includes: Jolly Abraham, Yusef Bulos, Ian Lassiter, Taylor Mac, Manu Narayan, Bhavish Patel, Steven Rattazzi, Debargo Sanyal and JD Taylor.
Tickets are extremely limited. For tickets and information, visit www.classicstage.org or call (866) 811-4111, or (212) 352-3101, or visit the CSC box office at 136 East 13th Street, Monday through Friday, 12 pm to 6 pm.
Now in its 44th year as one of New York's most exciting theatres, CLASSIC STAGE COMPANY is the award-winning Off-Broadway theatre committed to re-imagining the classical repertory for a contemporary American audience. The company is currently presenting the New York premiere of ORLANDO, based on the novel by Virginia Woolf, and adapted by acclaimed, Tony and Pulitzer-nominated playwright Sarah Ruhl's Orlando. Led by Artistic Director Brian Kulick and Executive Director Jessica R. Jenen, they recently presented David Ives' highly acclaimed Venus In Fur, directed by Walter Bobbie as well as Ostrovsky's The Forest, adapted by Kathleen Tolan, starring Dianne Wiest and John Douglas Thompson, and directed by Brian Kulick. In the previous season the company presented three sold-out acclaimed productions: Shakespeare's The Tempest, starring Mandy Patinkin; Chekhov's Uncle Vanya, starring Denis O'Hare, Maggie Gyllenhaal and Peter Sarsgaard; and Anne Carson's An Oresteia. Recent productions: critically acclaimed sold-out runs of Anton Chekhov's The Seagull, starring Dianne Wiest and Alan Cumming; the world premiere of David Ives' New Jerusalem, directed by Walter Bobbie; Hamlet, Richard II, and Richard III starring Michael Cumpsty and directed by Brian Kulick; and Zoe Caldwell in Yasmina Reza's A Spanish Play, directed by John Turturro.
CSC presents plays from the past that speak directly to the issues of today. As we return to works of the past, we endeavor to keep a clear eye on the future, particularly in terms of the next generation of artists and audiences. Founded in 1967, CSC has received wide recognition for its significant contributions to theatre as an art form through productions of classic plays, translations and adaptations and a long-standing commitment to the identification and nurturing of leading and emerging artists. Classic Stage's artists are the finest established and emerging theater practitioners working in this country. Highly respected and widely regarded as a major force in New York and American theatre, Classic Stage has been cited repeatedly by all the major Off-Broadway theater awards: Obies, Drama Desk, Outer Critics Circle, Drama League and the 1999 Lucille Lortel Award for Outstanding Body of Work. Memberships to Classic Stage Company productions are available at various price levels, including the flexible MasterPass membership, which in addition to prime seats entitles members to participate in CSC special series, including their sold-out Open Rehearsal events. For more information on Classic Stage Company visit the theatre's website at www.classicstage.org.
Full Cast Announced for SHINE! THE HORATIO ALGER MUSICAL
FULL CAST ANNOUNCED for
"SHINE! The Horatio Alger Musical" at the Theatre at St. Clements
SHINE! The Horatio Alger Musical with a Book by Richard Seff; Music by Roger Dean Anderson and Lyrics by Lee Goldsmith is being presented by Other Side Productions (Peter Mercurio, Chuck Blasius – Co-Artistic Directors) as part of the New York Musical Theatre Festival at The Theater at St. Clements, 423 West 46th Street. The director is Peter Flynn and the choreographer is Devanand Janki. Michael Bottari & Ronald Case are the set and costume designers. Greg Anthony is the music supervisor, arranger, orchestrator; Annbritt duChateau is the music director and the associate musical directors are Danny Percefull and Sue Anschultz. With a highly melodic, hummable and bouncy score with bright lyrics, "SHINE the Horatio Alger Musical", has tons of period atmosphere, nostalgic charm, comedy and entertainment. A multi-talented cast of 19 makes this one of the largest of the festival productions. Tickets are $20. Performances are: Thurs. 10/7 at 8pm; Sat. 10/9 at 5pm; Mon. 10/11, at 9pm; Fri. 10/15, at 1pm; Sat. 10/16, at 9pm and Sun. 10/17 at 3pm. www.shinethemusical.com
The principals for the show are: Andy Mientus (Richard Hunter); Michael Halling (Luke Gerrish); Meggie Cansler (Stacia Jane Hauser); Jimmy Ray Bennett (Gideon Chapin); William Ryall (Silas Snobden); Stanton Nash (Higgins); Philip Chaffin (Allen Carlisle); Tyler Merna (Rob Carlisle); Dan Lawler (Foswell); Evan Jay Newman (Mickey Maguire) and Kathy McGrath (Mrs. Mooney).
The Ensemble includes: Jason Mills was last seen as the Phantom in the tour of "The Phantom of the Opera" and "Forbidden Broadway: SVU", "South Pacific" (Carnegie Hall), and Encores!. Cheo Bourne has performed in "Hot Mikado", "Cabaret", "Of Mice and Men", "Animal Farm", "Jerry Springer The Opera", "HONK!", "The Comedy of Errors" to name a few. Todd Horman was on Broadway in "Urinetown", the tours of "Urinetown" and "Victor/Victoria" and a few Encore shows. Some other credits are "The Full Monty", "Les Miz" and "Guys and Dolls". Robert Mintz was in The Kennedy Center's "Broadway: Three Generations" and Signature Theatre's "The Visit" by Kander and Ebb. Rachell Coloff some B'way roles are: SoupySue in "Urinetown", Rivka / Fruma Sarah in "Fiddler on the Roof", The Baroness in "Candide", and Off B'way as Mother in "Enter Laughing". Jessica Vosk just returned from London's Royal Albert Hall, where she was featured in the new ABBA musical "Kristina". Other credits "Lend Me a Tenor: The Musical", "To Carry On: The Music of Laura Nyro". Joy Hermalyn on B'way: "Fiddler on the Roof", "Cyrano", "Candide", "Christmas Carol", Baz Luhrmann's production of "La Boheme", and numerous Encores!. Melissa Rain Anderson some NYC credits: "Bonnie and Clyde, a Folktale"; "Babes in Arms" and "Tenderloin" at Encores!; "Time and Again" as well as the National Tour: "South Pacific".
"SHINE! The Horatio Alger Musical" follows the tale of Ragged Dick (Horatio Alger's first best-selling hero) in lower Manhattan (1876) as he rises from penniless bootblack to budding Wall Street entrepreneur. Dick's adventures with a little bit of luck, some charm and a whole lot of hard work bring him face to face with scheming ex-convicts, vicious comic villains, kind benefactors, and a world of colorful street characters in this charming rags-to-riches romp for everyone.
Richard Seff (Book) has spent a lifetime in the theatre as actor, playwright, columnist, critic, agent, librettist, investor and now memoirist. He first acted professionally in 1946 and took a 22 year leave of absence from the stage to become an agent representing artists in the musical theatre on Broadway. Roger Dean Anderson (Composer) has been fortunate to collaborate with such legendary talents, Michael Smuin, Joe Layton, Wally Harper, Tony Walton, Vivian Matalon and Hal Prince. In 1979 he was paired with lyricist Lee Goldsmith, more than 30 years his senior; later composing the award-winning "Chaplin", followed by "Quality Street". Recent projects include "Ladykiller"; "Flying Tigers" and "Abe". Lee Goldsmith (Lyricist) enjoyed an early career with National Comics scripting stories for The Green Lantern, Wonder Woman and The Flash. He adapted several projects for the stage, writing book and lyrics: "Come Back Little Sheba", "Golddiggers of 1633" and his ground-breaking Broadway musical "Sextet".
Peter Flynn (Director) is Artistic Director of The Hangar Theatre and staged the star-studded Broadway concerts of "On the Twentieth Century" (Douglas Sills, Marin Mazzie, & Joanne Worley); "Chess" (Josh Groban); and "Funny Girl" (Whoopi Goldberg, Bebe Neuwirth, & Peter Gallagher, among others). Devanand Janki (Choreographer): directed & choreographed the award-winning hit "Zanna, Don't"! and "Junie B. Jones", "Cupid & Psyche", "Henry & Mudge" and John Patrick Shanley's "Romantic Poetry" (MTC). Broadway concerts: director of "Hair" (all-star cast, featuring Jennifer Hudson), choreographer of "Funny Girl" (16 Fanny Brices, including Whoopi Goldberg, Bebe Neuwirth, & Jane Krakowski).
http://www.facebook.com/pages/Shine-The-Horatio-Alger-Musical/299299993845 http://twitter.com/shinethemusical http://www.nymf.org/shine
THE DEEP THROAT SEX SCANDAL Offers $8 Tickets Through Oct 17
$8 Tickets??? Crazy You Say? Nope – It's OCHO LOCO!
The Deep Throat Sex Scandal
A Sinfully Entertaining New Play
ANNOUNCES A SALE FOR TICKETS AT ONLY $8: Through OCTOBER 17th!
The Deep Throat Sex Scandal, David Bertolino's play aboutthe making of the famed 1970s pornographic film "Deep Throat" and the subsequent controversy the film ignited, today announced it will offer a sale on tickets for only $8 on select performances through October 17th. $8 tickets can be purchased through broadwayoffers.com with promotion code: OCHODEEP, or visit http://www.8coupons.com/discounts/Bleecker-Street-Theatre-NYC#14581 and get the deal by texting the $8 Ocho Loco! coupon to your cell phone. Then, just show the mobile coupon to the Bleecker Street Theatre box office anytime Mon – Sun, Noon – 8pm, and purchase your $8 tickets (cash only, subject to availability, additional fees may apply).
"We're excited to be able to offer an OCHO LOCO deal for this exciting new off-Broadway play," says Landy Ung, co-founder of 8coupons, "It's a great opportunity for those New Yorkers who are interested in checking out off-Broadway shows to now be able to experience it themselves for less than the cost of a movie."
The Deep Throat Sex Scandal is appearing at The Bleecker Street Theatre at 45 Bleecker (near Lafayette Street.) The Deep Throat Sex Scandal plays Tue - Fri @ 8pm | Sat @ 7:30 & 11pm | Sun @ 4 & 7:30pm. Seats are priced regularly at $25 and $79.50.
The official opening is scheduled for Oct. 10. Adult film writer-director Jerry Douglas helms the production. The production features scenic design by Josh Iacovelli, lighting design by Graham Kindred and costume design by Jeffrey Wallach. When Harry Met Linda produces. For more information,please visit www.deepthroattheplay.com.
8coupons is a fun and easy way to save time, money, and trees by getting the best, up-to-the-minute deals on your phone. At 8coupons.com, local businesses can easily create mobile (text message based) coupons, and in-the-know locals can share the lowdown on everything from the happiest happy hour special to a last minute shoe sale. OCHO LOCOs (crazy eights in Spanish) are 8coupons' special exclusive "almost-free" deals with an "8" in it. They can range anywhere from 8-cent burgers to $8 theatre tickets. Anyone can sign up at 8coupons.com to start receiving exclusive OCHO LOCO deal alerts via email.
Manhattan Theatre Club Announces Participants for After Words: THE PITMEN PAINTERS
Manhattan Theatre Club is pleased to announce guests for the upcoming session of After Words, the popular discussion panels held after selected Saturday matinees at the Samuel J. Friedman Theatre (261 West 47th Street). The latest offering will focus on the THE PITMEN PAINTERS by Lee Hall, directed by Max Roberts.
On Saturday, September 18, After Words will feature Tim Barringer, a professor of the history of art at Yale, and director Max Roberts.
On Saturday, October 2 After Words will feature playwright Lee Hall and author William Feaver, whose book Pitmen Painters inspired the play. In addition, following the discussion, Feaver will be on hand to autograph copies of his book which is currently on sale at the Friedman Theatre.
After Words is part of MTC's continuing effort to deepen and enrich the play-going experience for its audiences. Held after selected Saturday matinees, these panels, featuring writers, cultural critics and journalists, provide provocative and illuminating insights into the political, cultural, and artistic contexts of the work MTC produces.
For more information on After Words, or to download a podcast of past After Words, please visit: www.ManhattanTheatreClub.com.
TIM BARRINGER is Paul Mellon Professor and Director of Graduate Studies in the Department of the History of Art at Yale University, has published and lectured widely on British art and visual culture and on art and empire. His books include Reading the Pre-Raphaelites (1998), American Sublime (with Andrew Wilton, 2002) and Men at Work: Art and Labour in Victorian Britain (Yale, 2005). He is editor of Colonialism and the Object (with Tom Flynn, 1997) and Frederic Leighton: Antiquity, Renaissance, Modernity (Elizabeth Prettejohn, Yale 1998). Art and the British Empire (with Douglas Fordham and Geoff Quilley, 2007), Art and Emanciption in Jamaica (with Gillian Forrester and Barbaro Martinez-Ruiz, 2007) and Writing the Pre-Raphaelites (with Michaela Giebelhausen) will appear with Ashgate in 2008.
WILLIAM FEAVER is the former art critic for the (London) Observer, writer, curator, broadcaster, painter, author of Pitmen Painters, from which THE PITMEN PAINTERS derives, and most recently, books on Frank Auerbach and Lucian Freud, whose retrospective he curated in 2002-3. He is founder trustee of The Ashington Group, member of the art advisory committee for the National Museum of Wales, and a tutor at the Prince's Drawing School.
Manhattan Theatre Club's (Lynne Meadow, Artistic Director; Barry Grove, Executive Producer) American premiere of Tony Award winner Lee Hall's THE PITMEN PAINTERS at MTC's Samuel J. Friedman Theatre (261 West 47th Street). The play will celebrate a September 30 opening night.
Manhattan Theatre Club, by special arrangement with Bob Boyett, is producing the Live Theatre, Newcastle/National Theatre of Great Britain's co-production of THE PITMEN PAINTERS on Broadway.
The cast, who have been with the production since it premiered at Live Theatre in 2007, includes: Christopher Connel, Michael Hodgson, Ian Kelly, Brian Lonsdale, Lisa McGrillis, Deka Walmsley, David Whitaker and Phillippa Wilson. The play is directed by Max Roberts.
Inspired by a book by William Feaver, and hailed by London critics as "a glorious instant classic" (Evening Standard), "a wonderful piece of theatre" (Financial Times) "a beautiful work of art that everybody should see" (The Times of London), and "a superb piece of work; warm, funny, sad, and thought-provoking" (The Daily Telegraph), the play tells the story of the Ashington Group - miners from Northumberland who became celebrated painters. THE PITMEN PAINTERS was named Best Play at the 2008 Evening Standard Awards.
Direct from a sold-out engagement at London's National Theatre, this funny and fascinating new play by Tony Award winner Lee Hall (writer of Broadway's mega-hit Billy Elliot) comes to Broadway with its entire original London cast intact. THE PITMEN PAINTERS is based on the triumphant true story of a group of British miners who discover a new way to express themselves and unexpectedly become art-world sensations! An arresting and hilarious salute to the power of individual expression and the collective spirit, THE PITMEN PAINTERS takes you on an unforgettable journey from the depths of the mine to the heights of fame.
THE PITMEN PAINTERS features scenic and costume design by Gary McCann, lighting design by Douglas Kuhrt, and sound design by Martin Hodgson.
The cast of THE PITMEN PAINTERS is appearing with the permission of Actors' Equity Association. The producers gratefully acknowledge Actors' Equity Association for its assistance of this production.
Tickets are available by calling Telecharge at 212-239-6200, online by visiting www.Telecharge.com, or by visiting the Samuel J. Friedman Theatre Box Office (261 West 47th Street). Ticket prices are $57 - $116.
For more information on MTC, please visit www.ManhattanTheatreClub.com
Please note THE PITMEN PAINTERS is dark on Mondays:
* THROUGH SUNDAY, OCTOBER 3: Tuesday at 7PM, Wednesday through Saturday at 8PM, Sunday at 7PM. Matinees on Saturday and Sunday at 2PM.
* MONDAY, OCTOBER 5 - SUNDAY, NOVEMBER 21: Tuesday at 7 PM, Wednesday through Saturday at 8 PM. Matinees on Wednesday, Saturday and Sunday at 2 PM.
* MONDAY, NOVEMBER 22 - SUNDAY, NOVEMBER 28 (THANKSGIVING WEEK): Monday, Wednesday, Friday, and Saturday at 8 PM. Tuesday at 7 PM. Matinees on Wednesday, Saturday and Sunday at 2 PM. Dark on Thursday.
* MONDAY, NOVEMBER 29 - SUNDAY, DECEMBER 12: Tuesday at 7 PM, Wednesday through Saturday at 8 PM. Matinees on Wednesday, Saturday and Sunday at 2 PM.
# # # #
Follow MTC on Twitter: @MTC_NYC or on Facebook.
Horse Trade Theater Group Presents THE LESBIAN LOVE OCTAGON
World Premiere of GRAHAM & FROST by Belinda McKeon at 1st Irish Theatre Festival
The Sullivan Project
in partnership with 1st Irish Theatre Festival
and in association with Alycia Aumuller, Maedhbh Mc Cullagh, Todd Miller,
and Williston Productions
the world premiere of
Graham & Frost
by Belinda McKeon
directed by Thomas G. Waites
Thursday, September 16 – Sunday, October 3, 2010
Performance Space 122
'A sharp, true, and quite eviscerating new play from the young Irish writer Belinda McKeon; Arthur Miller might have been happy to have orchestrated its humane and subtle ironies.'
- Sebastian Barry, Irish playwright and novelist
New York, N.Y., August 12, 2010 – The Sullivan Project, in partnership with 1st Irish Theatre Festival, has announced the world premiere of Graham & Frost, a darkly wry drama by award-winning Irish playwright and novelist Belinda McKeon directed by Thomas G. Waites. Performances take place Thursday, September 16 through Sunday, October 3, 2010, at Performance Space 122, 150 First Avenue, NYC.
Turf wars, urban displacement, and cultural identity converge—and violently erupt—in an abandoned Italian restaurant at Graham Avenue and Frost Street in present-day Williamsburg, Brooklyn. Three men of disparate backgrounds and misaligned agendas—Benny, Sam, and Luca—go to loggerheads as each lays claim to home and heritage. In the process, the sleek veneer of New York City's take-no-prisoners style of gentrification is stripped bare to devastating end. Combining deceptively congenial wit with the politics of pitiless self-gain, Graham & Frost sheds chilling new light on location, location, location.
The world-premiere production is directed by celebrated director/actor Thomas G. Waites (A Midsummer Night's Dream, Twelfth Night/TGW Acting Studios) and stars Steven Randazzo* (The Sopranos, Law & Order), Enrico Ciotti (Film: The Silver Rope/Abu Dhabi, Nantes, Puchon's PIFAN 2007) and Dan Shaked (Stone Cold Serious/Theatre Row-Clurman Theatre). The production features lighting and set design by Tsubasa Kamei and Jennifer Stimple; sound design by Jeremy Joyce; and costumes by Brian Einersen. Stage manager is Cat Coffey. Photography is by Hunter Canning. Graphic design is by Valery Estabrook. Graham & Frost is produced by Maedhbh Mc Cullagh. *Actor appears courtesy of Actors' Equity Association.
Belinda McKeon, Playwright
Award-winning Irish playwright Belinda McKeon has been recognized with the prestigious RTE P.J. O'Connor Award in 2005 for Word of Mouth; the Irish Times Theatre Judge's Special Award in 2007 for her play Drapes, as part of Fishamble's Whereabouts; and RTE Radio 1 Fringe Audience Choice Award in 2008 for Two Houses. She is currently under commission to the Abbey Theatre, Dublin, and recently workshopped a new play, Strut, at the Abbey. Her debut novel, Solace, will be published in 2011 by Scribner (US) and Picador (UK). She works as an arts journalist and curator and is based between Dublin and New York.
Thomas G. Waites, Director
Thomas G. Waites directed A Midsummer Night's Dream and Twelfth Night at TGW Acting Studios in New York last season and has also directed The Seagull, Estrella, My Refugee, The Bear, Six Goumbas and A Wannabee, Golden Ladder, and The Stronger, all in New York City. As an actor he was last seen in American Buffalo at the Studio Theatre in Washington DC and has been seen on Broadway in Search and Destroy, Teaneck Tanzi, with Debbie Harry, Richard the Third and as Ralph in Awake and Sing! Tom was in American Buffalo with Al Pacino, and has done over fifty plays both regionally and Off-Broadway. His favorite roles are Hal in Henry IV part one and Steve in Pastorale at Second Stage. His film credits include: The Warriors, On the Yard, The Thing, Justice for All, Pity the Poor Soldier, Light of Day, McBain, Shakedown, Till Death Do Us Part and the soon-to-be-released An Affirmative Act. On television, Tom was a recurring character on the HBO TV series Oz and has been seen on Law and Order and Law and Order Criminal Intent and New Amsterdam. Tom is also a playwright and resides and teaches here in the city. He is a member of the Actors Studio and is the Artistic Director of TGW Acting Studios in New York.
The Sullivan Project
The Sullivan Project is an independent production company focused on developing film and theatre projects that reach right into the core of human nature and speak to a wide, cross-cultural audience. Recent projects include the award-winning feature film Last Call (distributed by Moving Pictures), and the American Premiere production of Thomas Kilroy's play The Shape of Metal at 59E59 Theatres, starring Obie award winner Roberta Maxwell, and directed by Tony award nominee Brian Murray. For more information, visit www.thesullivanproject.com.
1st Irish Theatre Festival
Now in its third year, New York's annual First Irish Theatre Festival is a celebration of the best of Irish theater that is brought to you by Origin Theatre Company, which was founded in 2002 by artistic director George Heslin to showcase the works of European playwrights in America. Throughout September and early October, the 2010 1st Irish Theatre Festival highlights performances from 16 Irish playwrights new and old at 15 venues throughout the city. From September 7 through October 3, 2010, audiences in New York will engage with the best in Irish theater, readings, lectures, and panel discussions that represent companies from Belfast, Dublin, and Navan, as well as companies from across the U.S. For a full list of events, visit www.1stIrish.org.
Graham & Frost runs September 16 – October 3, 2010, at Performance Space 122, located at 150 First Avenue at Ninth Street, New York City. Tickets are $18 and can be purchased by phoning 212.352.3101 and online at www.ps122.org.
Fri 9/17/10 7 pm
Sat 9/18/10 1pm & 7 pm
Sun 9/19/10 1pm only
Wed 9/22/10 7pm
Thu 9/23/10 7pm
Fri 9/24/10 7 pm
Sat 9/25/10 1pm & 7 pm
Sun 9/26/10 1pm only
Wed 9/29/10 7pm
Thu 9/30/10 7 pm
Fri 10/01/10 7 pm
Sat 10/02/10 7 pm only
Sun 10/03/10 1pm only
Duration: 50 minutes. No interval/ No late seating.
THROUGH THE NIGHT Launches Shine the Light Project to Underwrite Student Tickets
New York (September 16, 2010) – Producer Daryl Roth announced today that Through the Night, the acclaimed solo show written and performed by Daniel Beaty and currently playing at the Union Square Theatre, has launched Shine the Light Project. Shine the Light, a special educational outreach program, is seeking contributions from corporations, foundations, and individuals to provide tri-state, inner-city students who would be otherwise unable to afford the $25 student price the opportunity to experience Through the Night by fully underwriting the cost of their tickets. Through the Night officially opens on Sunday, September 26.
"Shine the Light came about because many people who have come to see this play asked how they could get involved in helping to spread the word and sponsor students," Ms. Roth said. "We believe Daniel's inspirational message of empowerment can change lives, young and old, and it is our goal to ensure that we reach as many people as possible."
Contributions to Shine the Light can be made by visiting www.throughthenightonstage.com and clicking on the "Education" tab. All donations are fully tax deductable and will be used solely to help cover the cost of student tickets to a performance of Through the Night at the Union Square Theatre.
Donors may designate particular schools to receive the tickets, or the producers will select appropriate tri-state area school groups. Through the Night is deemed suitable for children aged 14 and older.
Through the Night is produced by Daryl Roth, in association with Jana Robbins, and presented with the enthusiastic participation of a "Who's Who" of artists and influencers who are acting as Artistic Ambassadors for the production. This select group, lending support through a variety of audience development efforts, includes Bill Cosby, Ruby Dee, Professor Henry Louis Gates, Jr., Thelma Golden, Hill Harper, LaTonya Richardson Jackson, Brian Stokes Mitchell, Phylicia Rashad, Ben Vereen, Pauletta Washington, and Malik Yoba.
Six characters. Three generations. One unforgettable performance. Mr. Beaty portrays an entire cast of characters, from inquisitive boy to elder preacher, spinning a tale in which lives collide to show how hope, faith and love can pull anyone Through the Night. The New York Times calls it, "a thing of beauty, wit, grit and piercing lyricism." Mr. Beaty's last New York stage appearance was in 2006, winning an Obie Award for his acclaimed solo show Emergency (formerly Emergence-SEE!) at The Public Theater.
Regular tickets, priced at $65.00, are available via Ticketmaster.com / (800) 982-2787 and in person at The Union Square Theatre Box Office (100 E. 17th Street, NYC). The Box Office is open Tuesday-Sunday from 1:00 p.m. to 6:00 p.m.
The performance schedule is as follows: Wednesday through Friday at 8:00 p.m., Saturday at 3:00 p.m. and 8:00 p.m., and Sunday at 3:00 p.m. and 7:00 p.m. Please note: there are no matinee performances on Sunday, September 12 or Sunday, September 26, and no performance on Wednesday, September 15.
Ghostlight and R&H Team Up for Release of Adam Gwon's ORDINARY DAYS
Tuesday September 21 Will Be No Ordinary Day
As Ghostlight Records Releases Original Cast Recording CD and R&H Theatricals Releases Professional Performing Rights
For Adam Gwon's New Musical
R&H Theatricals, a division of Rodgers & Hammerstein: An Imagem Company, has acquired the performance rights to Adam Gwon's musical ORDINARY DAYS, and will begin accepting applications for professional productions starting Tuesday, September 21. On the same day, Ghostlight Records will release the Original Cast Album CD of ORDINARY DAYS.
Gwon has been hailed as "a promising newcomer to our talent-hungry musical theater" by the New York Times, and his musical ORDINARY DAYS has already received productions Off-Broadway (by the Roundabout Theater Company in late 2009), in London (Finborough Theatre, 2008) and regional theaters (Adirondack Theatre Festival, June 2009; South Coast Repertory, January 2010; Human Race Theatre Company, Dayton, Summer 2010).
"I heard about ORDINARY DAYS from some of my colleagues," says Ted Chapin, President of Rodgers & Hammerstein, "and when I saw it at Roundabout Underground, I understood why people had been raving about it. I became an instant fan and decided it was just the kind of show that R&H Theatricals should have. It's so honestly about young people in New York today, and I found it smart and knowing. The recording is a wonderful representation of the show, and I know people who weren't lucky enough to see it at Roundabout will fall for it."
ORDINARY DAYS is an original musical with a contemporary sound about making real connections in the city that never sleeps (but probably should at some point.) ORDINARY DAYS tells its story of four young New Yorkers entirely through song. Lives intersect as they search for fulfillment, happiness, love – and cabs. Through a score of vibrant and memorable songs, the musical "captures with stinging clarity that uneasy moment in youth when doubts begin to cloud hopes for a future of unlimited possibility" (New York Times).
The Original Cast Recording of ORDINARY DAYS features Off-Broadway cast members Lisa Brescia, Hunter Foster, Jared Gertner and Kate Wetherhead, with Vadim Feichtner on piano. The album is produced by Scott Lehrer and Kurt Deutsch. Album Executive Producer is Ted Chapin. For more information on the album, visit http://sh-k-boom.com/ordinarydays.shtml
About Adam Gwon
ADAM GWON is a rising musical theater writer named one of "50 to Watch" by The Dramatist magazine. He won the 2008 Fred Ebb Award for excellence in musical theater songwriting and has been hailed "an extremely talented composer and lyricist" who "is seriously going places." (The New York Sun, StageSpace.com). Adam's musical ORDINARY DAYS was produced in the 2009-10 season at Roundabout Theatre Company, South Coast Repertory, Adirondack Theatre Festival, and Human Race Theatre Company. ORDINARY DAYS was previously produced at Pennsylvania Centre Stage, the Finborough Theatre in London, and at universities across the country, and was selected for the 2008 NAMT Festival of New Musicals. His other shows include THE BOY DETECTIVE FAILS (book: Joe Meno), BERNICE BOBS HER HAIR(book/lyrics: Julia Jordan), and ETHAN FROME (book: Michael Ruby). His work has been seen and developed at Roundabout Theatre Company, Primary Stages, the York Theatre, Signature Theatre, the Kennedy Center, Ars Nova, New Dramatists, NAMT, NYMF, the Johnny Mercer Foundation/American Music Theatre Project, Symphony Space, the Disney/ASCAP Musical Theatre Workshop, Tribeca Performing Arts Center, the Flea Theater, and many others. Adam's other honors include the ASCAP Harold Adamson award, the MAC John Wallowitch award and a MAC Award nomination for best song, as well as commissions from Signature Theatre in Arlington, VA (as part of its American Musical Voices Project: The Next Generation), South Coast Repertory, Broadway Across America, and the EST/Sloan Project. Adam has been a MacDowell Colony fellow, a musical theater fellow at the Dramatists Guild, and an artist-in-residence at Weston Playhouse. He is a graduate of NYU's Tisch School of the Arts, and a member of ASCAP and the Dramatists Guild.
About R&H Theatricals
R&H Theatricals represents the stage performance rights to over 100 musicals by more than 200 writers. These include works by Rodgers & Hammerstein (including OKLAHOMA!, SOUTH PACIFIC and THE SOUND OF MUSIC), Rodgers & Hart (PAL JOEY, BABES IN ARMS), and Kern & Hammerstein (SHOW BOAT), as well as musicals by Irving Berlin (ANNIE GET YOUR GUN, WHITE CHRISTMAS), Andrew Lloyd Webber (CATS, THE PHANTOM OF THE OPERA), Adam Guettel (THE LIGHT IN THE PIAZZA, FLOYD COLLINS), Kurt Weill (THE THREEPENNY OPERA, LADY IN THE DARK), such perennials as BIG RIVER, ONCE UPON A MATTRESS, and FOOTLOOSE, and the longest-running revues in the history of Broadway -- SMOKEY JOE'S CAFÉ -- and Off-Broadway -- I LOVE YOU, YOU'RE PERFECT, NOW CHANGE. Recently added titles include IN THE HEIGHTS, A CATERED AFFAIR, IT'S ONLY LIFE, [title of show], LOVE MUSIK, FACE THE MUSIC, REEFER MADNESS, ALTAR BOYZ, BERNARDA ALBA, MID-LIFE! THE CRISIS MUSICAL, and BRIGHT LIGHTS, BIG CITY. R&H Theatricals is an Imagem company: www.rnh.com.
About Ghostlight Records/Sh-K-Boom Records
Founded 10 years ago by Kurt Deutsch and Sherie Rene Scott, Sh-K-Boom and its imprint Ghostlight Records has become the leading independent force in musical theatre recording-shining a light towards its future while continuing to honor its past. The label is renowned for its efforts to encourage and support the music of the most innovative new voices on Broadway, to help bridge the gap between pop/rock and musicals, and to preserve the scores of important works. Ghostlight Records received a 2009 Grammy Award for their double-CD release of IN THE HEIGHTS (already a Tony Award Winner for Best Musical and Best Score) and was also Grammy-nominated for the new cast recording of Broadway's HAIR, which debuted at #1 on the Broadway Billboard Chart. In addition to IN THE HEIGHTS and HAIR, Ghostlight's releases of the OCRs for Tony and Pulitzer-Prize winning NEXT TO NORMAL, PASSING STRANGE, and the single release featuring the winner of MTV's LEGALLY BLONDE THE MUSICAL competition, have brought the label acclaim for their innovative marketing techniques and their efforts to reach the next generation of Broadway music fans via iTunes, music videos and more. Also featured amongst the label's over 75 titles are the popular cast albums of LEGALLY BLONDE, THE LAST FIVE YEARS, HAIR, DIRTY ROTTEN SCOUNDRELS, [title of show], IRVING BERLIN'S WHITE CHRISTMAS, BERNARDA ALBA, BRIGHT LIGHTS BIG CITY, ALTAR BOYZ, and THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE. Most recently, Ghostlight Records released the Original Cast Recording of EVERYDAY RAPTURE and this fall will release BLOODY BLOODY ANDREW JACKSON Original Cast Recording. Sh-K-Boom/Ghostlight records also features recordings from major Broadway artists like Patti LuPone, Sutton Foster, Kelli O'Hara, Christine Ebersole, Alice Ripley and Adam Pascal.


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Pentax WG-3 GPS
Announced Jan 29, 2013 •
16 megapixels | 3″ screen | 25 – 100 mm (4×)
Ask a question in forums about the Pentax WG-3 GPS.
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By: KiwiGrower (Jan 5, 2015)
Posted to: Ricoh Talk
Browsing the ricoh-imaging website, I do not see an obvious difference between thsew tow ricoh/pentax cameras. http://www.us.ricoh-imaging.com/digital-camera/WG-3_GPS_Green http://www.us.ricoh-imaging.com/digital-camera/WG-4_GPS_Blue Why would you chose one over the other? Please enlighten me? --Ronhttp://picasaweb.google.com/KiwiGrower
By: pablo83 (Oct 2, 2014)
Posted to: Beginners Questions
I currently have the Pentax wg3 but I was thinking about selling it to get the Sony TX30. Anyone out there have experience with both that can give me some feedback?
By: sgitlin (May 4, 2014)
I know that I can take still images while in Movie Mode by pressing the 'OK' button. Is there a way to take a still image if the movie was started using the dedicated Movie Button?
By: peevee1 (Feb 26, 2014)
Is there any difference except colors and Ricoh/Pentax brand? What about 2 fps sequential shooting in the DPR specs - is it really correct and that low? Any advantages over Olympus TG-2, especially in how GPS work (how quickly it can find its location etc)?
By: LPleet (Jan 25, 2014)
I am using a transend 32 gb wifi card which the computer recognizes. No transfer of images. In settings the wifi icon is blank. Thank you. Larry
By: smk (Jan 24, 2014)
One of the review comments is "slow" writes. Assume I should buy fastest SD Card to get best results on HD video with this camera? Figured I'd check first...think the manual said at least Class 4 or higher,
By: CoolRabbit (Nov 14, 2013)
Posted to: Open Talk
I need a weatherproof, dirtproof camera that takes excellent shots (yeah, a pipe dream, I know) especially excellent action shots. I am trying to decide between the Panasonic Lumix DMC-TS5, Pentax WG-3, and Olympus Tough TG-2. Does anyone have any experience with any of these cameras in regards to picture quality, action/motion shots, etc.? Or have a different camera to recommend? I don't really need to take the camera underwater, but it will be in situations where it will get wet and dirty,...
By: Ocolon (Nov 13, 2013)
How is the one-hand handling of the Pentax WG-3? After looking at pictures I am skeptical as there doesn't seem to be any room to place the thumb at. What are your experiences? Unfortunately I don't have a big camera store around so I can't check this myself.
By: Billy Bob John (Aug 5, 2013)
What are the differences between the Pentax WG-3 and the WG-3 gps? or is there any besides the gps of course thanks
By: Blaze1821 (May 30, 2013)
Hey, I just wrote an awesome thread and it closed, so heres the summary: Which is the best camera available for P+S rugged cameras? Is there any notable difference in the WG-3 over the WG-10? Does anyone have one that can comment on its picture quality (main POI is contrast and colours)? Its primary function is snow and water sports, possibly low light/night shots but I know they'll be grainy so where ever possible I'll have an SLR instead. I had thought of Go-Pro but I don't wear a helmet...
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Label: Something From Nothing , BomB First Records
Manager: R-E-G....
Bio: Count your blessings. Once you realize how valuable you are and how much you have going for you, the smiles will return, the sun will break out, the music will play, and you will finally be able to move forward the life that God intended for you with grace, strength, courage, and confidence.
"Fuck most of these Hating ass want to B's , Nigg's ,in Lafayette,IN . Get off of the nutz of a real as G."


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In recognition of the need for greater attention to the global TB epidemic, the International AIDS Society (IAS) is organizing TB2016, a two-day conference dedicated exclusively to this infectious disease immediately preceding AIDS 2016 in Durban, South Africa. This meeting incorporates the biannual SA TB Conference.
Learn more here
Abstracts are now available online in the TB2016 programme. To see the full abstract, please click on the abstract title.
The conference will take place 16-17 July, 2016 in Durban, South Africa, immediately preceding the 21st International AIDS Conference (AIDS 2016). Read more
Rooms in hotels and B&Bs are available in different price categories for conference delegates and groups.
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text:
Kico Velarde
Set in modern time, The Shooting Star Salesman is the story of a 19th century ageless Salesman (Yancey Arias, Chavez) who is granted the magical ability to align individuals with their own unique shooting star to wish upon. His rare gift becomes a curse when he outlives his family, turning him into a recluse and breaking the magic of the shooting star machine. As he ventures out to restore people's belief in shooting stars, he picks up a curious 8 year old tag along named Elijah (Elijah Velarde, Casa De Mi Padre) who starts to question if perhaps it's the Salesman himself who needs to have his faith restored. An unlikely partnership is formed as they embark on a journey to restore the faith of humanity. But as their friendship grows, the Salesman is torn between continuing his legacy or renouncing his magical gift for the chance to reunite with the family he lost a lifetime ago.
Official Website: theshootingstarsalesman.com
PRESS KIT: issuu.com/kicovelarde/docs/tsss_presskit
Trailer Edited by Eric Cruz
Music: "Mistake" by Moby (MobyGratis.com)


text:
|Publication number
|Publication type
|Publication date
|Sep 30, 1958
|Filing date
|Nov 8, 1954
|Priority date
|Nov 8, 1954
|Publication number
|Payne John W
|Original Assignee
|Socony Mobil Oil Co Inc
|Export Citation
|BiBTeX, EndNote, RefMan
|Patent Citations (8), Referenced by (3), Classifications (14)
|External Links: USPTO, USPTO Assignment, Espacenet
Sept. 39, 1958 J. w. PAYNE 2,854,156
HYDROCARBON CONVERSION 2 Sheets-Sheet 1 Filed Nov. 8, 1954 INVENTOR Pqylze BY M 4 l I ATTORNEY Sept. 3@, 1958 J. w. PAYNE HYDROCARBON CONVERSION 2 Sheets-Sheet 2 Filed Nov. 8, 1954 INTER/VH1. PRESSURE C ONTEOL COOL ING- FZ 0/0 COOL/#6 6/75 1N VENTOR Jam fi/ifa yzze BY W M United States Patent HYDROCARBON CONVERSION John W. Payne, Woodbury, N. 1., assignor to Socony= Mobil Oil Company, Inc, a corporation of New York Application November 8, 1954, Serial No. 467,501
2 Claims. (Cl. 214-17) This invention relates to the conversion of hydrocarbons by systems of the type which involve moving beds of granular contact material and more particularly to the use of the contact material to maintain seals between zones of diflerent pressures.
In the cracking of hydrocarbons to produce an increased yield of hydrocarbons boiling in the gasoline range it is customary to employ a continuously moving bed of granular catalyst material. Succeeding portions of this material flow through a reactor in which the conversion of the hydrocarbon material takes place. During this reaction the contact material becomes contaminated and provision is therefore made to deliver the moving bed to a regenerator wherein the contaminants are burned ofr. Succeeding portions of the regenerated contact material are then returned to the reaction or conversion zone.
It is desirable that the hydrocarbon conversion take place under pressure and that the regeneration of the contact material take place at atmospheric pressure. Accordingly, the problem is presented of continuously feeding contact material into a reaction zone while maintaining a positive pressure above atmospheric within that zone. One way to effect the seal is to use valves. These are, however, discontinuous in operation, expensive to install and maintain, and damaging to the contact material. Accordingly, resort has been had to feed legs of granular contact material which are long enough to maintain a head of contact material suflicient to keep the desired pressure level within the reactor. Recently there has been a tendency to resort to higher and higher pressures in the reaction zones and this creates a requirement for longer and longer feed legs in order to maintain the seals with an adequate factor of safety.
In an efiort to overcome this problem, resort has been had to feed legs containing zones of increased cross sectional area along their length. The presence of these zones reduces the length of feed leg required to hold any given pressure. The effect of the wide zone is to increase the staticpressure of the gas being held back while reducing its dynamic pressure. This prevents the gas from reaching a bed disrupting velocity at the top of the bed of contact material. The actual volume of the intermediate zone of increased cross section is, of course, dependent upon the pressure to be held and there must be maintained a suflicient amount of contact material above the plane Where the gas falls below bed disrupting velocity to keep the bed density constant so that flow resistance will be stable. If these conditions are met, it is found that the length of the leg necessary to hold a given pressure may be reduced.
It is an object of this invention further to improve the invention briefly described in the preceding paragraph by still further shortening the length of leg which is required to contain a given pressure. It is proposed according to the present invention to employ a feed leg system having portions of increased cross sectional area ice and to operate these in a cyclic manner with periodic compacting of the contact material to increase its capacity to hold reactor pressures. Other objects and advantages of this invention will be apparent upon consideration of the following detailed description of several embodiments thereof in conjunction with the annexed drawings wherein:
Figure l is a fragmentary view in section showing a preferred form of the present invention in one part of its cycle of operation;
Figure 2 is a view of the apparatus of Figure 1 in another part of its cycle of operation;
Figure 3 is a detailed view in vertical section of a tamping plug designed according to the present invention, one form of driving means therefor also being shown; and
Figure 4 is a view in vertical section of another type of tamping plug according to the present invention with a different type of actuator.
Referring now to Figures 1 and 2, the numeral 10 designates a reactor in which hydrocarbons are treated in the presence of granular contact material flowing continuously as a moving bed through a reaction zone gen- ,erally designated at 11. Above the reaction zone there is a contact material receiving zone 12 which always contains enough contact material to maintain a continuously moving bed in the zone 11. The Zone 12 is supplied with contact material from a hopper 13. The hopper 13 is supplied with contact material from a hopper 14 and the hopper 14 is supplied with contact material from a chute 15. The chute 15 receives contact material from a regenerator not shown and an elevator which raises the contact material from the regeneration to the top of the chute. It is customary to regenerate at atmospheric pressures and accordingly the contact material delivered to and issuing from the chute 15 is at atmospheric pressure. On the other hand, the pressure within the reactor it) is about 15 p. s. i. g. This being the case, it is apparent that if pressure leakage from the reactor 10 is to be avoided, the material in the hoppers 13 and 14 must be of such density as to prevent the escape therethrough of fluids under such pressure as prevail within the reactor.
The foregoing objective is achieved by the using of tamping plugs 16 and 17. It will be noted that the hopper 13 contains an upper cylindrical portion 18 of wide cross section, a tapering frusto conical portion 19, and a narrow slightly tapering portion 29 discharging funnellike into the top zone 12 of the reactor 1%). The hopper 14 is similarly constructed including an upper cylindrical portion 21 of large cross section, an intermediate frusto conical portion 22 and a tapering funnel-like portion of small cross section 23 leading into the top of hopper 13. Tapered plugs 16 and 17 are actuated by solenoid assemblies 24 and 25, respectively, which vertically reciprocate the respective plugs through a relatively short stroke. The effect of a downward stroke of one of the tapered plugs 16 or 17 is to compact the granular material into the narrow portion 2! or 23 respectively.
The hopper 14 is vented to atmosphere by a pipe 26. A pipe 2'7 places the interior of the hopper 18 in communication with a valve 28 which is rotatable to connect the conduit 27 to atmosphere through a pipe 29 or to the reactor 16 through a pipe 30. A sealing gas under pressure is supplied to the reactor through a pipe 31.
The operation of the invention depicted in Figures 1 and 2 is cyclic and hence is best understood by a description of a complete cycle. For purposes of this description, let it be assumed that the zone 12 contains an adequate amount of contact material to maintain the moving bed in the zone 11 until the hopper 13 can be refilled. Under these conditions, which are depicted in to the Figure 1 position to vent the hopper 13 to atmosphere. Hopper'14 is continuously vented to" atmosphere" so that there is noappre'ciable difierence in'pressure' between the" interior of the hoppers 13' and 14 at this stage of the operation. Thelen'gth of the compacted leg of.
contact material in the portion. 20 of the hopper 13 is enough to hold back the pressure within the reactor 10,.
hearing in mind that somewhere in the portion 19 of the hopper 13the' gas velocity' falls' below bed disrupting value and bearing in mind that even at the beginning of the refill of hopper 13 there is sufiic'ient' contact material above the plane wherethe' bed disrupting velocity no longer exists to hold thei contactmaterial' in position.
In Figure 1 the plug'17 is shown in its upper or re-v tract'ed' position so the contact material can and does'flow freely out ofthe hopper and into the hopper 13. When the hopper 13 has been adequately filled the flow, cycle is changed from that shown'in Figure 1 to that shown in Figure 2.
In changing over the first thing that is done is to project the plug 17 downwardly to increase the density of the contact material'in the portion 23 of the hopper 14. Thereafter the valve 28' is moved to the Figure 2 position and the plug 16 is pulled upwardly or retracted to establish a connection between the reactor 10 and the hopper 13; The pressure in the hopper 13 is quickly equalized with that prevailing in the reactor. The plug 16' being withdrawn,the' contact material can and does flow out of the hopper 13 and into the upper'zo'ne 12 of the reactor. While this is happening the pressure drop across the porti'on'23 is" held by exactly'the same phenomenon as was described in connection with the portion 20 in the Figure l position'. The'hopper14can' be filled because its upper empty spaces are at atmosphericpressu're. By thetime the hopper14 is adequately filled, hopper 13 willbe low and the zone 12 will be high. Thereupo'n the operation is again restored to the Figure 1 position for refilling of,
the hopper 13. Repetition of these cycles is continued throughout the operation of the device.
By Way of an example, a uniformly tapered seal leg 5 long (part"2023) with a maximum, diameter of 27.3 and a minimum diameter of 18.6" can be used in catalytic cracking process having a catalyst circulation rate of 350 tons per hour. The bed level in the hopper is never less than 3' (height of part 1922), this being to maintain' an adequate head above the plane where the bed disrupting velocity ceases. In such a hopper, a tapered plug 5 long actuated by a solenoid was'used. The plug tapered from a maximum diameter of 18" at the top to a minimum of 6" at the bottom. The tapered plug forced into the seal leg brought a 10% reduction of bed volume. In order to make the resistance to blowout nearly uniform, it is desirable to use a tapered plug in a tapered leg as shown in Figure}. The most effective taper is an' acute angle theta with the angle phi of theportion 23 greater than zero. In the example shown in Figure 3 theta equals 12 and phi 4. The apex angle of the frusto conical walls of the portion 23 of the hopper 14- is therefore 4.
It is to. be understood that the .compacting which is efiected by the plugs suchas 17 and 42 is done in a single stroke accomplished normally in about A of asec- 0nd. Refraction of the plug is also effected in A of a second. A typical catalyst feed or hopper fill will consume about 10 seconds while adjusting the pressure in the hopper 13 takes about seconds. It will be appreciated therefore that a cycle of the type described above is completedin just over /z a minute.
In a system of the type described, the contact material leaving the regenerator and entering the hopper 14 is very hot, beingfrom 900 to 1300" F. Electric and mechanical parts need to .be' protected at these temperatures and.
Q for this reason it is'proposed to surround the operating gas through the conduit 33.' The cool gas'bath es-the windings 34 of the stator of the solenoid and then leaves the container 32 through the pipe 35." The electrical leads to the stator are suitably protected by means known to the art outside of the container 32 and within the container these leads 36 are protected by the cooling gas- Similar protection is afforded to the leads 37 to the arma' ture 38" ofthe solenoid. The armature 38 is fixed on one I end of a rod 39 which at its other end is connected to the plug 17. A rather long guide bearing is provided at 40 and this bearing is subjected to the cooling action of the 3 gas entering the container 32.. a
While the foregoing description has been concerned with the solenoid 25, it is to be understood that the identical. arrangement willfb'e' used with solenoid'24'.
In reference to Figure .4, there is shown a 'Sylphon' bellows '41 a's'an operator for a conical plug 42 in a: hopper '43; The'Sylphon bellows is actuated by the application of a pressure fluid thereto through the conduit 4'4. The bellows is encased in a housing 45 containing a shaft bearing 46*and the housing 45 lies withida jacket 47. to which the cooling fluid is supplied through conduit 48 and withdrawn through the conduit 49. The plug shown in Figure 4 can be used in installations such 7 as are shown in Figures 1 and 2. It acts as a piston at the top of the seal leg preventing expansion of the catalyst and subsequent loss of se'aliagainst reactor pressure For this'design to be effective the conical point of the plunger 3 42 must have angle 0 (measuredf'from the axis of sylrimetry' of the plunger) which" is notless than the angle o of the conical bottom of the hopper. When these'twoh angles areiequal the sides of the plunger and the hopper.
walls are parallel and an advance of the plunger afon'gi 1 the axis for symmetry in the direction of the hopper wall will place the catalyst particles in compression. Note in Figure 4 that the angle 0 is larger than the corresponding;
'angle in'the Figure 3 construction, 0' in Figure 4 being greater than 12 but less than 45 While the Sylphon' bellows is shown as the actuator for the form of tamping' plug shown in Figure 4, it is also suitable for actuatinga plug of the Figure 3'type as isthe solenoid for actuating'a plug of the Figure 4" type g I What is claimed is:
1-. Apparatus for transferring solid material of palpable particulate formfrom one location to another, the com-' bination which comprises: a supply hopper, a depending conduit attached below said supply hopper, a pressuring hopper attached to the bottom of said conduit, meansfor alternately increasing and decreasing the pressure in said pressuring hopper, means defining a discharge outlet from said pressuring hopper for the withdrawal of solid material, means for supplying solid material to said supply hopper, and tamping means located within said conduit and suppiy hopper adapted for downward movement to compact the solid material at approximately the same time that the'pressure in said pressuring hopper is increased, whereby the pressure sealing capacity of the apparatus is increased.
'2. Apparatus.for'introducing solid material of palpable particulate form into a high pressure vessel, the combination which comprises: a supply hopper -locatedabove the high pressure vessel, a pressuring hopper located between the supply hopper and the high pressure vessel;
a first connecting conduit of restricted cioss-sectioncon adapted for downward movement substantially simulta 5 neously with the increase of pressure in the pressuring hopper, whereby the solid material in said first connecting conduit is made more compact, and a second tamping means located within the pressuring hopper and the second connecting conduit adapted for downward movement substantially simultaneously with the reduction of pressure in the pressuring hopper, whereby the solid material in said second connecting conduit is made more compact.
1,971,716 Hitchcock Aug. 28, 1934 6 Schlesman Mar. 16, Rogers Oct. 14, Loss Apr. 25, Adams Nov. 14, Morrow Oct. 16,
FOREIGN PATENTS Great Britain Nov, 9, Great Britain NOV. 18,
|Cited Patent
|Filing date
|Publication date
|Jun 26, 1930
|Aug 28, 1934
|Reliance Electric & Eng Co
|Ash remover
|Nov 4, 1941
|Mar 16, 1943
|Socony Vacuum Oil Co Inc
|Feed device
|May 11, 1945
|Oct 14, 1947
|Berrien Rogers John
|Feeding granular materials into a head of pressure
|Feb 9, 1949
|Apr 25, 1950
|Allied Chem & Dye Corp
|Shipment of calcium chloride in tank cars
|Dec 6, 1948
|Nov 14, 1950
|Universal Oil Prod Co
|Controlling flow of subdivided solid particles
|May 24, 1949
|Oct 16, 1951
|Morrow James R
|Grain storage terminal
|Title not available
|Title not available
|Citing Patent
|Filing date
|Publication date
|May 3, 1961
|Nov 24, 1964
|Norton Orlo Clair
|Air drier and charging means combination
|Dec 26, 1984
|Mar 18, 1986
|Uop Inc.
|Maintaining gas flow during transfer of solids in hydrocarbon conversion and gas-solid contacting processes
|Mar 28, 1988
|Oct 10, 1989
|Method for valveless control of particle transport
|U.S. Classification
|422/219, 414/217, 422/216
|International Classification
|Cooperative Classification
|European Classification


text:
Norwegian Jade Cruise Review by lilyen311: Incredible cruise
Overall Member Rating
Incredible cruise
Destination: Europe - Western Mediterranean
Embarkation: Rome (Civitavecchia)
To start with please understand that we were in an Owners's Haven Suite with two balconies and upgraded to Ultimate dining for the trip.
We had a fabulous vacation. It was so incredible to have a butler and concierge.
We felt the entertainment was wonderful. The illusionist was spectacular. The "cirque" like production was top notch and the vocal group 4Ever were just awesome.
We had a couple of choppy nights and had one port change from Cagliari to Mallorca.
We did a few NCL excursions and were very pleased with them. Chose to stay on in Tunisia rather than dealing with their immigration policies.
We would sail in this ship again in a heartbeat! Less
Published 02/08/14
Read more Norwegian Jade cruise reviews >>
Read Cruise Critic's Norwegian Jade Review >>
Cabin review: 10094
Incredible cabin. Loved watching the sail away from the front of the ship. Terrific to have meals served at our dining room table by our butler.
Truly an Epic Cruise for Famil...
Bad Start, Excellent Staff, Se...
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Like a nightmare....
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Fun for the Money
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Close but no cigar.......
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From the Publisher
As part of our new GreatestHits Maps series, the Automobile Club of Southern California explores the best of the unique faces and places along this storied stretch of highway. Includes full-color photos, fun, informative text and easy-to-follow maps. Experiencing this essential piece of Americana has never been easier or more enjoyable.


text:
The 42nd Annual Monmouth County Fair opens today, July 27 at 5 p.m. The Fair runs July 27-31 at East Freehold Showgrounds, Kozloski Road, Freehold. Enjoy rides, music, blue ribbon exhibitions and more at this year's Fair. Get the details here.
New firefighters ready to serve their communities
FEMA funds 90 percent of new span
Urge replenish Transport Trust Fund
State must fund Criminal Justice reform
Signs available at no cost to towns
Education key to combatting spread of the disease
$10k awarded for 40.2 percent increase
Applications accepted in Freehold and Neptune
Sheriff's Dept. and Prosecutor's Office honored
Wednesday, July 27, 2016
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7 December 2005 | The Hollywood Reporter | See recent The Hollywood Reporter news »
Karen Glass was promoted Wednesday to exec vp production for the Buena Vista Motion Pictures Group. Glass, a 16-year veteran of the Walt Disney Studios, will report to Nina Jacobson and continue to oversee all areas of development and production. "Karen has wonderful taste and a very sophisticated understanding of the movie business," Jacobson said. "Her eye for material, combined with her commitment to her filmmakers, make her an integral part of the creative team." During her tenure, Glass has overseen development and production on such films as The Princess Diaries and its sequel, The Santa Clause 2, Freaky Friday, Herbie: Fully Loaded, Tuck Everlasting, Raising Helen, Ice Princess and the upcoming Untitled Music High, The Shaggy Dog and The Santa Clause 3. »
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Enid, OK 73703
Check in at the La Quinta Inn & Suites Enid and plop down on a soft pillowtop bed. Unwind by enjoying one of the ... read more...
800-272-6232, 580-234-0440
3005 W Owen K Garriott Rd
Enid, OK 73703
Ramada Inn offers rooms featuring two double beds or one king, luxurious pillow top beds, free local calls, ... read more...
12689 State Hwy 51
Hennessey, OK 73742
Camp comfortably in your RV at the Longhorn RV Park in Hennessey. See all the town has to offer and take advantage of ... read more...
Southard House Bed & Breakfast
518 W Pine
Enid, OK 73701
Escape to Enid's Kenwood Historic District and enjoy one of four luxurious suites the Southard House Bed and Breakfast ... read more...
877-660-8543, 580-254-5200
3350 Oklahoma Ave
Woodward, OK 73801
Each one of Candlewood Suites' rooms is comfortable and equipped with everything you need for an extended stay in ... read more...
Canton Lake
Canton, OK 73724
Longdale Campground, located on Canton Lake, offers year-round, primitive tent camping. Visitors to this Army Corps of ... read more...
800-800-8000, 580-338-0507
1201 E Hwy 54
Guymon, OK 73942
Come let us show you why we're the "PRIDE" of Super 8. Guest rooms feature one or two queen beds, microwaves and ... read more...
RR 1 Box 175
Fort Supply, OK 73841
Supply Park Campground, operated by the U.S. Army Corps of Engineers, offers camping on the shores of Fort Supply ... read more...
520 E Renfrow
Arnett, OK 73832
Circle C Motel & RV Park in Arnett is family-owned and features clean and comfortable guest rooms. Amenities at this ... read more...
224 W Broadway
Kingfisher, OK 73750
Let Cattlemens Inn be your next home away from home in Kingfisher. Conveniently located just off Highway 81 within ... read more...
Guymon, OK 73942
The Colonial Inn in Guymon is a convenient option for all your basic lodging needs. Each of the 32 motel rooms comes ... read more...
Email: firstname.lastname@example.com


text:
``This book takes the reader on a journey through the fascinating life-cycle development of a typical new technology. During the journey, this book presents a combination of practice and research, experience-based adviced, and state-of-the-art MOT methods for effectively managing each step in the new technology development cycle'' (IEEE Electrical Insulation Magazine 1994-07-01)
From the Back Cover
In this new book, twenty of the nation's foremost technology management experts have pooled their vast knowledge and experience to bring you the first comprehensive, fully integrated guide to effectively managing new technology throughout the product development process. From the generation of a viable product idea to the launch of that product into the marketplace, this in-depth survey takes you sequentially through the life cycle development of a new product/technology and presents proven methods for managing the activities required at each stage in the process. You'll find detailed coverage of the full range of technology management issues, including conceptualizing new products and technologies; defining markets and users for new technologies; organizing for technology and innovation; managing technical professionals and project teams; managing the new product development effort; and transforming R&D and manufacturing capabilities. Using examples of actual industrial applications, the book fully explores such key concepts as compressing cycle times... parallel development methods... using teams and task forces... managing customer interfaces... the strategic management of technology... managing technology in global markets... co-venturing... and more. In addition, summary guidelines demonstrate how engineering, R&D, and marketing managers can apply these concepts within their own organizations.